The White Guard - Mikhail Bulgakov [148]
How I regret now not having known Bulgakov. How keenly I long to know the how, the where and the why in the genesis of his novel.
In 1923 his mother died of typhus. The White Guard was begun in 1923. And it opens with the funeral of the Turbins' mother: 'For the reigning head of the family, their adored mother, was no longer with them.'
I am just re-reading The Master and Margarita, and I now understand very clearly the real-life origin of the flood caused by Margarita in Latunsky's apartment.
And Maxudov in The Theatrical Novel is not writing Black Snow but The White Guard:'... It's evening, the lamp is burning; it has a fringed shade. Music lies open on the grand piano. Someone is playing Faust. Suddenly Faust stops and a guitar starts playing. Who is playing it? Here he comes, with the guitar in his hands . . .'5
Nikolka . . . Nikolka again . . . Greetings, Nikolka, old friend of my youth . . .
There I've said it: The friend of my youth, it appears, was no more and no less than a White officer-cadet. But I cannot reject
5. M. Bulgakov Black Snow. A Theatrical Novel. (Hodder and Stough-ton; London 1965), p. 63.
him or deny him, nor his elder brother. Norhis sister, nor his brother's friends ...
For I fell in love with those people and I love them to this day. I love them for their honesty, their nobility and their bravery, and ultimately for the tragedy of their position. I love them, just as the hundreds of thousands of people loved them who saw the play at the Moscow Art Theater.6 And among them was Stalin. According to the M.A.T. records he saw The Days of the Turbins no less than fifteen times! And he could hardly be called the keenest of theatergoers . . .
The Turbins' apartment was destroyed by fire at Minsk in 1941. And although it rose from the ashes again thirteen years later, this time not in one but in three versions (the play was revived in Moscow, in Tbilisi and in Novosibirsk), for me there was only one genuine one, the set (hateful word for something so real!) designed by the artist Ulyanov. It is gone forever. Just as the actors in the original cast, Khmelyov, Dobronravov, Kudryavtsev, are gone for ever, the ones who first made us fall in love with the real-life (or maybe they were fictional, well perhaps half- or quarter-fictional -God, I've made the same mistake again!) heroes of Bulgakov's play.
We have known them so long - forty years in fact (incidentally we are now as far away in time - even three years longer - from the last M.A.T. production of the play as was that performance from the events it describes). Why has our friendship with them not only not waned over so many years (for they have acquired new friends too) but actually grown stronger? Why did I love them even more when I saw the revived production?
At first I could not give a precise answer to that question. Now I can.
I loved the Turbins even more just because it was they who first introduced me to Bulgakov.
Forty years ago, there's no point in concealing it, I was much less interested in Bulgakov (as a writer, and still less as a person)
6. Not less than a million, in my estimation. In the fifteen years from 1926 to 1941 the play ran for 987 performances, with an audience of at least i.ooo people each time.
than in his heroes. But now, when we have come to know so many more of his heroes, even including some who are devils and witches, I turn back in my mind to 1928, I am again sitting on the steps of the dress circle in the Moscow Art Theater and I give thanks to Alexei, to Elena and Nikolka, even to the Hetman Skoropadsky for having been the first to say to me: 'Mikhail Afanasievich Bulgakov, playwright . . .'
I have never seen his play Moliere, but I have read his Life of Monsieur de Moliere. Bulgakov had no patrons, he had no Prince Conti, no Duke of Orleans, just as Moliere had no Artistic Directors to contend with, but both of them were equally aware what a steep path the true artist had